SKU: CA.5507519

ISBN 9790007171438. Text language: German/English.

For the magnificent opening of the oratorio season at the beginning of 1736 Handel presented a composition which, like hardly any of his other oratorios, gave him the opportunity to display his musical artistry: John Dryden's ode Alexander's Feast or the Power of Music, published in 1696, demonstrates the power of music by the example of the ancient hero, Alexander the Great. From the impressive lament on the death of Darius, the King of Persia, to the boisterous Praise of Bacchus Handel avails himself of the entire breadth of the musical representation of the emotions and the possibilities for expression. In the text by Newburg Hamilton added at the end of work St. Cecilia elevates the events of the ancient heathen story, which Handel expressed in plastic, skillful polyphony. Later, this homage to the patron saint of church music, Handel also present the opportunity to perform the work on St. Cecilia's Day (22 November). For the first time the present new edition is based consistently on Handel's conducting score, which he used for his own performances of the oratorio, thus not only eliminating timeworn errors, but also offering clarity concerning the choruses, the arias and recitatives, actually performed in Handel's concerts, as well as their sequence of performance. The new Carus edition offers two performance versions: the version of the premiere in 1736, as well as a revised version from 1751. Furthermore, the inclusion of the Concerto for Harp HWV 294 (CV 55.294) is also possible; Handel composed this work especially for Alexander's Feast (as an illustration of Timotheus, the ancient poet who played the lyre). For this purpose the edition contains the appropriate alternatives for the sequence of the movements. Score and parts available separately - see item CA.5507500.

SKU: CA.5507505

ISBN 9790007171230. Text language: German/English.

For the magnificent opening of the oratorio season at the beginning of 1736 Handel presented a composition which, like hardly any of his other oratorios, gave him the opportunity to display his musical artistry: John Dryden's ode Alexander's Feast or the Power of Music, published in 1696, demonstrates the power of music by the example of the ancient hero, Alexander the Great. From the impressive lament on the death of Darius, the King of Persia, to the boisterous Praise of Bacchus Handel avails himself of the entire breadth of the musical representation of the emotions and the possibilities for expression. In the text by Newburg Hamilton added at the end of work St. Cecilia elevates the events of the ancient heathen story, which Handel expressed in plastic, skillful polyphony. Later, this homage to the patron saint of church music, Handel also present the opportunity to perform the work on St. Cecilia's Day (22 November). For the first time the present new edition is based consistently on Handel's conducting score, which he used for his own performances of the oratorio, thus not only eliminating timeworn errors, but also offering clarity concerning the choruses, the arias and recitatives, actually performed in Handel's concerts, as well as their sequence of performance. The new Carus edition offers two performance versions: the version of the premiere in 1736, as well as a revised version from 1751. Furthermore, the inclusion of the Concerto for Harp HWV 294 (CV 55.294) is also possible; Handel composed this work especially for Alexander's Feast (as an illustration of Timotheus, the ancient poet who played the lyre). For this purpose the edition contains the appropriate alternatives for the sequence of the movements. Score available separately - see item CA.5507500.

SKU: TM.07344SET

I. Prelude II. Rhapsodie Mauresque III. Reverie du Soir IV. Marche Militaire Francaise.

SKU: CA.5527803

ISBN 9790007188528. Language: English.

Handel's Utrecht Te Deum HWV 278 enthralled London audiences right from its first performance, and it continues to do so today in concert halls and churches all over the world. It was performed for the first time in a festive service on 13 July 1713 in St. Paul's Cathedral to celebrate the Peace marking the end of the twelve year-long War of the Spanish Succession in 1713. The Te Deum was the first commission by the English royal house and was also Handel's first sacred work in the English language. For Handel the Utrecht Te Deum was an important milestone at the beginning of his London career. The composition brought him an annual pension from Queen Anne and helped him to establish himself as a composer of prestigious music for the English royal family. Four further settings of the Ambrosian hymn of praise by Handel followed, including the equally popular Dettingen Te Deum (Carus 55.238). The six soloists required can in practice be reduced to four, and the Te Deum does not contain any stand-alone arias. The chorus is scored in five parts in a few movements (SSATB), with the concluding doxology beginning in double-choir scoring (SST/AATB). For this frequently-performed work Carus offers a musical text reflecting the latest scholarly discoveries. The Critical Report contains information on all the important facts about the work in a practicable, compact form. A detailed foreword contains insights into the creation of the work and its reception. The vocal score, chorus score, and orchestral parts provide for the needs of practical performance; these are complemented by carus music, the choir app for practising the choral parts, as well as the Carus Choir Coach practice CDs and a Vocal Score XL in reader-friendly large print.

SKU: CA.3550214

ISBN 9790007213459. Language: German.

Third version, first performed around 1747 in Leipzig. First version available under 35.304/00. The St. Mark Passion, which probably originated in the first decade of the 18th century, by a composer known until now only as Kaiser, is only preserved in various copies. It occupies a prominent place in Bach's music library as the only music for Passion by another composer which he performed several times, usually in different forms. For the young Bach in Weimar this St. Mark Passion was a didactic piece for learning the art of the modern narrative recitative; as the Leipzig Thomaskantor he also performed it (1726). The present edition reconstructs the third version, first performed in Leipzig (1747), in which Bach inserted seven arias from Handel's famous Brockes-Passion. Only in this pasticcio did a direct encounter occur between him and his famous compatriot in London, a real encounter which Bach longed for, but which never came about. Score and part available separately - see item CA.3550200.

SKU: CA.3550213

ISBN 9790007213442. Language: German.

Third version, first performed around 1747 in Leipzig. First version available under 35.304/00. The St. Mark Passion, which probably originated in the first decade of the 18th century, by a composer known until now only as Kaiser, is only preserved in various copies. It occupies a prominent place in Bach's music library as the only music for Passion by another composer which he performed several times, usually in different forms. For the young Bach in Weimar this St. Mark Passion was a didactic piece for learning the art of the modern narrative recitative; as the Leipzig Thomaskantor he also performed it (1726). The present edition reconstructs the third version, first performed in Leipzig (1747), in which Bach inserted seven arias from Handel's famous Brockes-Passion. Only in this pasticcio did a direct encounter occur between him and his famous compatriot in London, a real encounter which Bach longed for, but which never came about. Score and part available separately - see item CA.3550200.

SKU: CA.3550205

ISBN 9790007213411. Language: German.

Third version, first performed around 1747 in Leipzig. First version available under 35.304/00. The St. Mark Passion, which probably originated in the first decade of the 18th century, by a composer known until now only as Kaiser, is only preserved in various copies. It occupies a prominent place in Bach's music library as the only music for Passion by another composer which he performed several times, usually in different forms. For the young Bach in Weimar this St. Mark Passion was a didactic piece for learning the art of the modern narrative recitative; as the Leipzig Thomaskantor he also performed it (1726). The present edition reconstructs the third version, first performed in Leipzig (1747), in which Bach inserted seven arias from Handel's famous Brockes-Passion. Only in this pasticcio did a direct encounter occur between him and his famous compatriot in London, a real encounter which Bach longed for, but which never came about. Score available separately - see item CA.3550200.